Moderator: Why can't you punch accurately on the Ampex?

Mixerman: They have a severe delay time. The in-point isn't bad, but the out is like a 1/4 of a second. I was recording John Robbinson at Cello once in those machines, and it was a bitch. The time signatures were changing every bar from 5/4 to 6/4 to 9/8 to 5/4 to 4/4 - it was ridiculous.

Mixerman (continued): JR was amazing, but he was sight-reading, and I had to punch him in really tight spots. At one point he just screamed "WHY CAN"T THEY GET A FUCKING 827 IN HERE!" And for this particular exercise we probably should have. Unfortunately, I didn't know that the music was going to be like this, and neither did he.

MMazurek: I know ya like to throw a 2-buss comp on early sometimes, what are some of your favorites for rock-n-roll?

Mixerman: I like two, but I use the SSL compressor, currently. I like the sound of it in combination with the Neve consoles. I don't mind, in fact I like, VCA's on the entire mix. It gives kind of a sheen to the mix. If I'm mixing on an SSL, I'd rather use something like a Cranesong STC-8 or a Neve 33609.

blairl: In your opinion do any of these newer, cheaper microphones that are supposed to "emulate" vintage Neumann, etc., any good?

Mixerman: I haven't done extensive A/B testing of any of them - I really haven't even heard very many, so I'd probably do best not trying to answer that.

Pro Jules: That Euphonix R1 is supposed to be the shit - Michael Wagner is happy with his…

Mixerman: Bully for Michael...

MadMoose: What's your favorite automation system? Any preference on moving fader vs. VCA?

Mixerman: Hmmm… Well, I like aspects of both. If I had my druthers, I think I'd go with Flying Faders automation. But I like the aspect of being able to ride on top of rides in an SSL. But I really am not happy mixing on those consoles. So Flying Faders it is.

I think FF is the most intuitive of all the automation systems. Very easy to use. Very fast.

nick/d: Do you regard panning more as a tool for separation and clarity within a mix or as one for recreating a real-life "scene" i.e., a band playing in front of you?

Mixerman: It depends. It really depends on the production. Sometimes I want to crate a realistic landscape. Usually, I just want to get shit out of the way of the vocal.

Another Dave: Is it wrong to think that all recording guys are anal-retentive candy-ass nancy-boy Prima Donnas?

Mixerman: LOL. I think most are, actually. Not me, of course...

master_man: Do you prefer mixing on 'home-styled' monitors (like NS-10s) or something more hi-fi, with faster bass?

Mixerman: It's a problem actually. I've mixed on NS10's for so long that I have trouble finding mid field monitors that I like. Plus, moving around from studio to studio just makes it hard. I really like mixing on Tannoy Super Golds with Doug Sax crossovers. But I don't have my own pair. I just heard a pair that I like a lot, but I can't even tell you the make of them. I'm considering buying them – LOL - if I can figure out what the hell they were.

Mixerman (continued): I really like the midrange of NS10's. I'm still using them and I can still get parts, but the writing is on the wall. It's time to learn a new set of monitors.

That's hard.

rickpowell: How do you get electric guitars out of the way of a vocal? My last record had an excess of 2.5k junk that made for an irritating mix, but when I tried to dial it out, they seemed to lose their edge.

Mixerman: That’s hard for me to answer without hearing what's going on. Perhaps you need to make the vocal warmer to compensate for the edgy guitars.

StoMo: Are there styles of music you particularly look forward to mixing - or perhaps artists you look forward to mixing? Can you even generalize about this?

Mixerman: I look forward to mixing music that inspires me. That's about all I can ask for.

To be honest, it's usually the smaller indie projects that inspire me. These I usually do for considerably less than my going rate. But I choose them based on the music. So if someone sends me an unmixed album of tracks that I love, then I let them make me an offer and decide whether I can do it. Or if the music perhaps doesn't inspire me as much as I thought... The people are usually nicer and much more appreciative at this level. I'd rather make a tiny record with someone I like than a multi-platinum selling record with someone I don't like.

frankrizzo: MM... what kind of volumes do you work at when you're: A) recording, and B) mixing?

Mixerman: All volumes. I need to know what a mix does loud, but there is a point of too loud, especially in NS10's. Once I get things pumping and I'm trying to get arrangements together. I'm usually monitoring pretty quietly. Then I go back to semi loud. Rock-n-roll was designed to be listened to loud, so it has to work that way.

dave-G: How many points should a mixer get on a record? What should the "norm" be?

Mixerman: A mixer should get 1 point on a record. This is by no means an industry standard. If you are a mixer highly in demand, they'll pay the point. If you're not, they won't. Sometimes I get a point, sometimes I don't. Points are as good as monopoly money unless it's a hit.

Moderator: Would be out of line for me to ask you what a couple of your favorite records you have ever mixed are?

Mixerman: It wouldn't be out of line... to ask it.

master_man: Do you think it's a good idea for neophyte mixers to print versions without buss compression so the mastering engineer can decide what's best?

Mixerman: LOL… still laughing… No. Mixing is about taking chances, it's not about being safe. Compression changes balances in a drastic way. If you're providing an uncompressed version of the mix in hopes that the mastering engineer can provide you with “better” compression, then you are looking for a crapshoot.

Mixerman (continued): If I touch the threshold on my 2-buss compressor in the slightest bit, it completely throws the whole mix out of whack. As a mixer, you need to mix aggressively and with purpose. This isn't guesswork. The mix is the final presentation of the production. So you really want to leave that up to chance? Any mastering engineer that wants an uncompressed mix actually wants to be a mixer.

drumsound: Do you listen much to things you have done in the past?

Mixerman: Occasionally. I'll usually reference a room with that last thing I mixed, and a few choice selections, just because I know them so well. I'm trying to get an idea of what the room is doing to the sound of the speakers. But I don't really listen to entire albums that I've done. My wife does though.

frankrizzo: Have you had your ears checked for frequency loss?

Mixerman: Yes. I have none. My ears are fine. The large majority of guys that mix big records these days have severe hearing loss. I'm not quite sure that's an issue. As to my ears, I have them tested every year.

Moderator: That's it! This has been a production of Universal Concept, Inc. On behalf of PSW, I'd like to thank Mixerman for sharing his time and opinions with us

chat.boy: Tonight's chat was moderated by the one and only Chris Kathman, or C.K. to the roadies.

Mixerman: Thanks everyone.

chat.boy: We'll have more Rec Pit chats, check the forum for the next date and time
Perhaps we'll have a Bob Buontempo canoli recipe chat.

chat.boy: Join the others in the Recording chat room for “after chat.”